The beginnings of Gerard van Lankveld’s (born 1947 in Gemert, Netherlands) empire Monera can be traced back to his youth. As a teenager he was viewed as being different from his peers and stigmatized as an “outsider”. Rejected and ridiculed, he began to defend himself: in May 1967 he proclaimed his own state, which proceeded to declare war on the established order. One year after independence the nation was given its own flag. The colour red stands for struggle and battle, white for hope and enlightenment, green for peace and tranquillity.
Georgius Macropedius was appointed ideological patron of the empire, his name is the Latin version of the name of the Dutch humanist Joris van Lankvelt (1487-1558), born, like the artist, in Gemert.
Gerard van Lankveld gave his enclave the name Monera in 1976. This word contains several allusions: “moira” ist the Greek word for fate (“Fate demanded that I proclaim the state”); “moneron” means isolation (I fought the battle alone”); and the Latin word “monere” – warn or remind – refers to the fact that he did the right thing. Since 1995 the state has borne the full name of Monera Carkos Vlado, with Carkos standing for emperor and Vlado for governmental power.
The clocks, miniatures of monuments, ships, aircraft and architectural elements are all parts of this highly humanist empire Monera. It evolves in a continuous creative process from the objects that Gerard van Lankveld creates, at once a real and imaginary realm.
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„To work with Franz Von Saalfeld at Atelier Goldstein was an opportunity to enter the world of another artist and to share mine with him. We went field recording together to determine pitch in amplified noise, something which he can do, and I cannot. He showed me his pictures and objects, I shared mine with him. We spent time looking and listening.

There is a kind of knowledge amassed, literally a mass, accumulated by the simple act of looking and listening. This mass moves us and can determine a way of producing as an inherent response, much like the impulse to turn towards a sound, to see and recognise what you assume. If fuels a desire to interpret, reinterpret and share.

BUSINESS / CUPBOARD / HAIR / LAND refers to a series of our responses to images that I brought to the Goldstein studio. Our words do not describe what we saw while looking at the images, but rather things we couldn’t see. Alone, these words indicate both things and the ideas of things. At Galerie Goldstein in the objects, video and paper works work we bring, this is what one can expect to see, things and the ideas of things, present indicators of a time and place, and things beyond."

From August 7th on, Goldstein Galerie will transform into a laboratory.

During the first week, Julius Bockelt and Sven Fritz will use the rooms as a music studio to work experimentel compositions and an audiovisual performance.

During the second week, Julius Bockelt will draw on the display window of the gallery, a temporary piece of art.

On August 21st Julia Krause-Harder and Lutz Pillong will move into the gallery. Krause-Harder will work on her huge textile world map, which is planed to
be exhibited in Goldstein Galerie by January 2018.

GOLDSTEIN GALERIE, Schweizer Straße 84, Frankfurt am Main

Supported by:

The traveling Memorial of the grey busses will come to Frankfurt am Main and stay there on the Rathenauplatz from August 19th to May 2018.
There will be a events series remembering the victims of the euthansia crime.

Atelier Goldstein will show works by its artists at the Paulskirche from October 17th to 30th.

Since 2016, Atelier Goldstein artist Perihan Arpacilar has painted portraits of personalities that have influenced her life and work. Artistically, she approaches these representations in two specific ways. In her ink drawings, she makes use of a water technique, a kind of ink wash, that makes the ink move of its own accord. The randomness of the flowing pigments in this accelerated process makes for idiosyncratic portraits. Tadashi Hatori, curator of the Hyogo Prefectural Museum of Art in Kôbe writes:
"Pigments dissolved in water float over the paper. A vague form of a human face becomes visible. It is unbelievable how Perihan Arpacilar, with the least possible use of colour and subtle strokes of her brush, can create men and women on paper with such presence."

A second method of approaching her subjects is through woodcuts, a wholly different and quite contrary method to the first. The slowness of the procedure and the solidity of the material involved form are a counterweight to the elusiveness of ink.

In this fashion, Arpacilar has created her cycle "Cult" in the past months, portraits of eight unmistakeable artistic icons in limited edition that are now counterposed with her ink drawings by Atelier Goldstein.

From June 2017, Museum of Everything will host their most expansive and ambitious show to date at the Museum of Old and New Art (MONA)
Atelier Goldstein is represented with over 40 works by Künstler such as
Hans Jörg Georgi (Planes), Julia Krause-Harder (Dinosaur Sculptures) und Julius Bockelt (Drawings), vertreten.

Opening and puppet show: Oct 19th, 7 pm
By and with Michael Kalmbach and composer and pianist Seyko Itoh

Exhibition: Oct 20th - Nov 26th 2016

The Scoundrels‘ Ballet
is a work of art made from a newspaper from Frankfurt that Michael Kalmbach has fashioned into paper sculptures in Berlin that is now returning to its place of origin. It is a synthesis of movement, image and sound.
During the opening of the show, Michael Kalmbach and composer and pianist Seyko Itoh will transform into Miko and Seel, who will bring the sculptures to life.
For the rest of the show’s run until November 26th, the sculptures can be seen as a mute reminder their turbulent first night.

(...)The photo on the invitation is a mask-like, organic-looking thing that, like the shrivelled mushroom, is enigmatic to the beholder. He won’t disclose the secret this time.
We look forward to being enlightened.
There are loads of botanists in Frankfurt who are just waiting to help us out in definitively identifying the plantlike organism, of which different variations will be shown in the exhibition. Let’s call it The Mask-Series.
The photos were taken in 2007, the prints are new. 2007 is not an even number. Nine years are not ten years, but G.D. wants them exhibited at this moment. That is why the title of the exhibition has no reference to time.
He does not ask “When are we living?” That would be a silly question. We live exactly when we are alive, and only then. It would have been a nice question, that would have ended with a question mark, not like the pseudo-question “Jawolebenwirdenn”.
The title refers to the side of the gallery where the photos will be shown that were taken in the gallery neighbourhood, yesterday, the day before yesterday, and the day before that.
The photo of a puddle at the corner of Schwanthaler and Oppenheimer, across the street from Krögers Brötchen, was taken many years ago and he is looking forward to seeing it exhibited for the first time. G.D. is a proponent of the saying that everything was better in the olden days. His best pictures were all taken in the olden days.
A group of drawings shown the style he developed for the MMK complete the exhibition and liven things up a little.
Two slide shows are planned with the title “JWLWD”, an acronym of the exhibition title. Sounds kinda like JWD. “Janzweitdraußen”.
It will definitely not be a slide show of Sahara photos. No, not with me. Our slides were taken in Frankfurt, possibly in Sachsenhausen.(...)

The redesign of the Marien Kirche Aulhausen by Atelier Goldstein, after six years of intensive effort, is completed.
An exhibition about the process and reception of this redesign will take place at three locations this april:

After finding a piece of wood in the forest, Ernst Stark then bares a picture from that piece, layer by layer, like an archaeologist. This takes time and patience.
Many of his works are postcard-sized, framed by watercolor. Sometimes the pieces are life-sized and sculpted from whole tree trunks. The themes can be animals, landscapes
or just a thing, a found object.

Ernst Stark processes the wood until it transforms, it morphs into something animate. The animal becomes a portrayed object, the landscape becomes a space for memories.
It all has its own pace and rhythm and is never hurried.

In essence: Ernst Stark transferrs a two dimensional image into the space.

The exhibition „Herzstücke“ will show wooden sculptures from the period of 2003 to 2016, arranged by the artist to form a picture in the room. The centerpiece of this
colorful Installation will be a life-sized animal, resembling an okapi.

In its first solo exhibition, Goldstein Gallery will show the work of its artist Julius Bockelt, born in Frankfurt in 1983, which mainly deals with his observation of physical phenomena. Linear shapes and overlapping designs are linked with his experiments with noise interferences and sound waves. His photographic work is the result of idiosyncratic observations and experiments. Bockelt uses cloud information, rainbows, snow crystals and photoelastic methods, f.i. to change the structure of soap bubbles with Coca Cola. The results are incidental but poetic but poets works of art.